COMPARISON  OF  CERTAIN  SONATAS 
OF  BEETHOVEN  AND  BRAHMS 

BY 

GLADYS  STEGENGA 


THESIS 

FOR  THE 


DEGREE  OF  BACHELOR  OF  MUSIC 

IN 

MUSIC 


SCHOOL  OF  MUSIC 

UNIVERSITY  OF  ILLINOIS 


1922 


UNIVERSITY  OF  ILLINOIS 


.June.  _ 8. i92_2__ 


THIS  IS  TO  CERTIFY  THAT  THE  THESIS  PREPARED  UNDER  MY  SUPERVISION  BY 

Gladys  __S  £_e  genga. 


ENTITLED CDMEARIH01L-aEl-£lEP-TAlH--aaMTAS---0E.-BEETHO.VEIJ 


AUH-BHAHMS. 


IS  APPROVED  BY  ME  AS  FULFILLING  THIS  PART  OF  THE  REQUIREMENTS  FOR  THE 
DEGREE  OF  ___BaciielcjL-D£-j4u£Lic._in_iius.ii3. 


Digitized  by  the  Internet  Archive 
in  2016 


https://archive.org/details/comparisonofcertOOsteg 


COMPARISON  OP  CERTAIN  SONATAS  OP  BEETHOVEN 

AND  BRAHMS 


Outline 


I.  Introduction 

A.  Brief  resume  of  history  of  sonataform  up  to 
the  time  of  Beethoven. 


II.  Beethoven 

A.  Special  characteristics  of  style. 

1.  Grandeur  and  power. 

2.  Completeness. 

3.  Methodical. 

4.  Romantic  expression. 

B.  Sonatas 

1.  Op.  2,  #1,  for  Pianoforte. 

2.  Pathetique,  for  Pianoforte. 

3.  Op.  31,  #2,  for  Pianoforte. 


III.  Brahms 

A.  Influences  of  contemporaries. 

B.  Revival  of  long  formal  composition. 

C.  Treatment  and  expressive  qualities. 

D.  Sonatas 

1.  Op.  #1,  for  Pianoforte. 

2.  Op.  #99,  for  Pianoforte  and  violoncello. 

3.  Op.  #108,  for  Pianoforte  and  violin. 


IV.  Conclusion 


. 


' 


Before  considering  a direct  and  intensive  comparison 
of  the  sonatas  of  Beethoven  and  Brahms  with  respect  to 
their  use  and  application  of  the  theme  proper,  it  may  be 
well  to  go  briefly  over  the  history  of  the  sonata-form  as 
it  existed  before  the  time  of  Beethoven. 

It  is  conceded  and  understood  by  all  well-versed  musi- 
cians that  the  sonata  is  the  highest,  greatest,  and  most 
original  production  in  the  province  of  pianoforte  music. 

Music,  in  the  course  of  its  development,  has  developed  through 
such  forms  as  the  Study,  the  Fantasia,  the  Variation,  the  Ron- 
do, and  thus  on  to  the  sonata,  which  in  a certain  sense  is  a 
combination  of  different  forms.  This  is  the  explanation 
Marx  gives  to  the  development  of  the  different  forms  of  music 
writing  in  his  "Compositions  Lehre."  Others,  considering  the 
subject,  arrive  at  similar  conclusions  as  to  the  course  musi- 
cal forms  have  followed.  Some  trace  the  development  through 
preludes  and  dance  forms;  others  through  fugues;  and  still 
others  through  song. 

^n  the  sonata  all  of  these  forms  occur,  which  only  goes 
to  prove  that  it  grew  from  these  forms  and  is  almost  a col- 
lection of  them.  ^-ost  sonatas,  it  has  been  found,  contain 
three  or  four  movements,  the  strict  son&a-form  as  such  con- 
stituting the  first  movement  of  the  collection  called  sonata. 
Two-part  movements  on  the  other  hand,  as  well  as  sonatas  con- 


■ 


■ 


2 


taining  more  than  four  movements,  have  been  found  just  as  prac- 
ticable and  justifiable  as  a form.  There  is  more  or  less 
freedom  in  the  sonata,  and  it  is  only  distinguished  from  other 
musical  forms  by  the  usual  names  and  prominent  features  of  the 
collection  of  movements.  The  "Andante"  or  "Adagio"  movement 
appears  in  almost  every  sonata,  and  is  one  of  its  most  dis- 
tinguishing features. 

This  model  of  musical  form,  the  sonata,  has  become  very 
popular  since  its  beginning.  Many  writers  are  at  their  best 
in  this  form,  because  it  is  a set  form,  almost  written  from 
outline.  An  that  is  lacking  is  the  suggestive  idea  or  inspir- 
ation. indeed,  like  the  fugue,  a sonata  could  almost  be 
written  and  developed  from  a single  idea  providing  the  subject 
or  theme. 

Kbstlin  says  the  object  of  the  sonata  is  to  display  a 
rich,  expressive  and  subjective  state  of  feeling,  whether  this 
flows  forth  in  a rich  full  stream  of  emotional  images,  or 
whether  it  shows  in  the  form  of  a great  tone-picture,  one  of 
the  different  phases  of  the  prevailing  sentiments  of  the  emo- 
tional life. 

Sonatas,  since  their  beginning  in  about  1690  have  been 
treated  for  violin  and  pianoforte  by  such  writers  as  Johann 
Kuhnau,  predecessor  of  Sebastian  Bach.  The  style  has  always 
been  more  or  less  polyphonic,  consisting  of  a quick,  a slow, 
and  then  a quick  movement. 

Scarlatti,  after  Mattheson,  takes  away  the  severe  poly- 
phonic element  from  the  form,  giving  it,  after  several  other 


3 


developments  of  a minor  nature,  a regular  and  reasonable  shape. 

Durante,  also,  is  to  be  mentioned  in  connection  with  the 
development  of  the  sonata-form.  He,  like  Scarlatti,  introduced 
more  of  the  homophonic  style.  According  to  Elterlein,  the  son- 
atas of  Durante  are  "free,  natural,  valuable,  and  intelligent," 
while  written  in  transitional  style  between  the  song  and  the 
sonata-form. 

Sebastian  Bach,  the  next  great  writer  in  line  is  said  to 
be  far  superior  to  Kuhnau  and  Scarlatti  in  richness  and  freedom 
of  command,  combining  several novements  into  a whole.  He  is  con- 
sidered the  intervening  transitional  step. 

From  the  middle  of  the  18th  century  until  the  death  of 
Emanuel  Bach  in  1788  was  considered  the  beginning  of  a new  per- 
iod for  the  sonata,  when  it  acquired  a regular  and  satisfactory 
form,  and  interpretive  quality.  During  this  period  appeared 
the  movements  with  one  or  more  themes  employed,  rather  in  comple- 
ment to  the  first  theme  than  contrasting  to  it.  Emanuel  Bach 
was  the  fore-runner  of  Haydn  in  both  form  and  the  matter  of  his 
works,  using  chiefly  the  movements  "Allegro",  ( sonata- form), 
"Andante",  (song  form),  and  "Presto"  (rondo-form). 

The  sonata  in  the  following  period  was  considered  epoch- 
making,  receiving  a new  life  and  impetus,  making  more  perfect 
and  important  the  repetition  of  theme  in  the  first  and  third 
movements.  Haydn,  in  keeping  with  his  well-known  traits,  gives 
the  form  more  freedom,  more  jest  and  humor,  and  more  an  evidence 
of  its  being  the  product  of  emotion  as  a means  of  expression. 
Mozart  further  adds  character  to  the  artistic  side  of  the  form. 


' 


, 


' 


4 


These  two  writers,  Haydn  and  Mozart  influenced  to  a great 
extent  the  works  of  the  master,  -Beethoven.  On  the  foundation 
built  by  his  fore-runners,  Beethoven  based  his  production  in 
sonata-form.  His  mode  of  expression,  his  conception  of  the 
idea  and  its  working  out,  the  whole  tenor  of  the  composition,  are 
far  superior  to  any  of  his  contemporaries.  Beethoven,  in  his 
writing  as  well  as  in  his  personality,  possessed  a strength, 
artistry,  and  grandeur  which  can  hardly  be  compared  with  in  any 
other  composer  to  this  day.  As  the  transition  from  the  classic 
to  the  romantic,  his  music  embodies  a power  of  expression  and 
appeal  hardly  equalled  before  or  surpassed  since.  It  all  shows 
his  personal  touch  and  reflection  of  soul.  He  employs  all  pos- 
sible means  of  clearness  of  expression.  Beethoven's  range  in 
the  realm  of  the  sonata  is  almost  as  great  as  his  range  in  the 
symphonic  form.  His  works  for  the  symphony  orchestra  are  great 
masterpieces,  while  the  sonatas  are  said  to  be  reflections  of 
his  innermost  being. 

Through  Beethoven' s first  period,  that  period  influenced 
by  the  works  and  styles  of  Haydn  and  Mozart,  he  shows  a sort  of 
simplicity,  a sticking  to  form  as  form,  and  writes  more  or  less 
in  the  style  of  those  predecessors.  Nevertheless  his  individu- 
ality creeps  out  and  in  his  second  period  this  feature  is  very 
marked.  He  withdraws  from  these  previous  influences  and  is 
more  independent  in  his  expression.  From  the  time  Beethoven 
was  thirty  years  old  until  he  reached  the  age  of  forty-four,  he 
had  a perfect  balance  of  the  faculties  of  conception  and  expres- 
sion. The  third  period,  after  his  forty-fourth  year,  shows  the 


5 


culmination  of  his  ability,  the  most  wonderful  powers  of  any 
writer.  Beethoven  here  shows  the  development  of  a style  not 
to  be  compared  with  in  any  other  composer.  There  is  a profound 
depth  of  feeling,  a complete  mastery  of  the  art  of  writing,  a 
perfect  comprehension  of  the  beautiful,  and  finally,  a power  to 
convey  his  thoughts  and  ideas  to  others. 

In  our  present  study,  the  aim  is  to  show  the  difference 
between,  and  make  a comparison  of,  the  work  of  Beethoven  and 
Brahms,  in  the  source,  use,  and  treatment  of  the  sonata  subject 
or  theme • 

Following  the  works  of  Beethoven  in  chronological  order, 
we  shall  consider  first  those  of  his  first  period,  that  period 
showing  the  influence  and  characteristics  of  Haydn  and  Mozart. 
Sonatas  from  ^pus  #1  to  Opus  #10  are  included  in  this  period. 

Sonata,  Opus  2,  #1  has  an  opening  theme  in  f -minor  tonic. 


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The  fact  that  it  is  based  mainly  on  the  tonic  chord  of  the 
key  gives  it  a firmness  and  settled  state  right  at  the  start. 
The  repetition  in  measures  three  and  four  of  the  same  theme  on 
the  dominant  again  helps  to  fix  the  key  in  the  hearers'  minds. 
The  accentuation  here  of  the  leading  tone  is  another  feature 
adding  to  its  simplicity  and  firmness.  Measures  five  and  six 


6 


give  a repetition  of  the  triplet  figure  found  in  the  dimeters 
just  preceding.  The  ff  tonic  chord  in  measure  seven  proves  a 
sort  of  climax  within  the  theme  and  serves  as  an  effective  con- 
trast to  the  pianissimo  monometer  following,  which,  left  by  the 
unresolved  leading  tone,  emphasizes  in  a quiet,  simple  question, 
the  seeking  atmosphere  of  the  entire  subject. 

The  use  of  the  triplet  figure  in  neighboring  tones  is  not 
very  elaborate  musically,  but  in  its  simplicity  and  repeated  use 
accentuates  the  staccato  notes  it  neighbors,  and  proves  the  ques- 
tion mark  of  each  separate  phrase. 

The  subject  next  appears  in  the  key  of  c-minor,  the  key  of 
the  dominant. 

The  sub- the me,  appearing  in  the  key  of  A-flat  major,  based 
on  the  minor  dominant  ninth  appears  to  be  an  inversion  of  the 
main  theme  in  its  general  motion.  The  quick  triplet  form  is 
omitted,  and  a repeated  figure  of  three  eighth-notes  is  used  in- 
stead. 


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Even  with  these  slower  triplets,  the  restless  spirit  of 
the  movement  is  not  impaired,  for  the  Allegro  form,  in  spite  of 
its  tonic  firmness,  continues  restlessly,  brought  out  still  a 
little  more  by  the  frequent  rests  before  the  three  tones  appear. 

The  closing  theme  diverges  greatly  from  the  use  of  the 
chords  of  the  previous  themes,  it  being  built  up  entirely  differ 
ently,  principally  confirming  the  cadence  in  A-flat  major.  The 


. 


7 


use  of  the  grace  notes  serves  to  bring  out  more  noticeably  the 
other  tones  of  the  theme. 

In  the  development  group  both  subjects  are  referred  to,  the 
M.  T.  in  the  key  of  A-flat  major,  and  the  S*  T.  in  the  key  of 
B-flat  at  the  first,  and  the  closing  theme  appears  in  F. 

Throughout  the  Adagio  movement  there  is  a quiet  and  peace- 
ful atmosphere  with  still  a little  of  the  seeking  in  the  repeti- 
tion of  its  themes.  The  Adagio  is  conceded  by  some  to  be  a modi' 
fied  sonata-form  in  itself. 

The  %nuetto  Allegretto  of  the  third  movement  brings  back 
the  restlessness  and  uneasiness  of  the  first  movement,  while  in 
the  fourth  movement,  Prestissimo,  the  idea  of  the  whole  sonata 
rises  to  a climactic  storm  of  troubled  feeling.  This  Finale 
shows  Beethoven  as  he  appears  in  his  later  works.  There  is  a 
strength  or  power  which  is  not  found  in  his  works  written  under 
the  influence  of  Hadyn  and  ^zart. 

The  romantic  element  and  later  Beethoven  style  begins  to 
show  itself  even  during  his  first  period  in  particular  passages 
of  his  first  sonatas. 

In  the  Bathe tique  sonata,  classed  by  some  as  in  the  first 


' 


8 


period  of  his  works,  Beethoven  uses  an  introduction,  striking, 
emphatic,  and  brilliant,  in  c-minor,  after  which  follows  the 
main  theme  in  the  same  key.  This  theme  differs  from  the  M.  T. 
of  the  sonata  previously  discussed,  in  that  it  diverges  more 
from  the  tonic  chord  tones.  Beethoven  has  become  more  daring 
and  free  in  his  choice  and  selection  of  melody.  He  seems  to 
write  more  unconsciously,  that  is,  his  work  becomes  more  and 
more  the  result  of  inspiration,  rather  than  of  applied  effort. 


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This  theme,  here  given,  differs  too  in  that  the  time  values 
used  show  more  freedom  and  flexibility,  the  result  again  of  in- 
spiration and  a natural  effort  at  expression.  The  sf  at'  the 
end  of  the  first  trimeter,  measure  three,  brings  contrasts  and 
relieves  a possible  monotony  which  the  scalewise  progression  in 
the  theme  might  bring. 

The  grand  crescendo  in  the  corresponding  place  in  the  second 
division  of  the  theme,  in  measure  five,  a repetition  of  the  sub- 
stance of  the  first  division  in  the  octave  above,  is  very  strik- 
ing; showing  too  the  natural  emotion  of  the  theme  as  a result  of 
inward  feeling  of  the  composer.  Analogous  with  expression  in 
literature,  emphasis  is  brought  about  by  repetition.  Then  the 
slow  and  gradual  working  down  again  to  the  tonic  in  the  middle 


' 


' 


9 


range,  half  way  between  the  tonic  at  the  beginning  of  the  first 
theme  and  the  tonic  of  the  climax,  is  a splendid  example  of  the 
grandeur  of  -Beethoven’s  writing. 

The  subject  is  then  repeated  in  its  original  form  and  har- 
monic structure.  After  a number  of  development  measures,  dealing 
in  part  with  a thematic  repetition  of  the  M.  T. , the  3.  T.  is 
brought  in  in  measure  forty-one.  It  enters  in  soft  marked  tones 
in  the  key  of  e-minor,  repeated  in  the  same  key  and  then  brought 
out  in  E-flat  major. 

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Here  Beethoven  seems  to  return  to  his  simple  style,  mono- 
metrical  figures  combined,  and  in  the  use  of  the  tonic  chord  with 
occasional  passing  tones.  The  use  of  the  mordant  in  measures 
forty-seven  and  eight  introduces  nevertheless  a freedom  charac- 
teristic of  the  approaching  period.  The  use  of  the  staccato 
in  this  S.  T.  introduces  another  form  of  contrast  and  emphasis. 
The  sf  in  measure  forty-three,  closly  followed  by  the  sf  in  the 
next  measure  provides  a sharpness  and  accent  which  is  very  in- 
teresting. Although  the  use  of  the  sf  has  become  very  popular 
and  effective,  it  is  not  often  that  it  is  so  closely  followed 
by  another  and  then  suddenly  left  with  a pianissimo.  But,  when 
one  has  studied  Beethoven' s sonatas,  his  symphonies,  and  ensemble 
works,  these  little  so-called  tricks  are  no  longer  surprising. 


10 


'•‘•'he  performer  must  needs  watch  very  closely  the  marks  of  ex- 
pression which  Beethoven  has  used  in  his  compositions,  in  order 
to  get  the  proper  effect,  and  a pianissimo  sometimes  appears 
where  it  is  least  expected. 

The  closing  theme  in  E-flat  major  shows  the  use  of  chromatic 
progression  leading  to  the  sub-dominant  and  then  through  the 
dominant  back  to  the  tonic  and  repetition.  The  dominant  sf  in 
the  left  hand  contrasts  well  with  the  pianissimo  introduction  of 
the  theme  again. 


tone,  brings  a sort  of  rhythmical  combination,  later  used  to  a 
great  extent.  used  in  its  most  extreme  form  today,  this  use  of 
held  tones  would  be  called  syncopation. 

Opus  31,  #8  of  Beethoven's  sonatas  may  now  be  examined  fol- 
lowing in  order  those  which  show  the  development  of  his  art. 

This  sonata  in  d-minor  receives  much  different  treatment 
from  any  of  the  others  herein  mentioned  because  of  the  differ- 
ence in  its  rhythmic  and  harmonic  values.  Rhythmically  it  is 
quite  complicated,  and  harmonically  it  is  individualistic,  show- 
ing that  trait  of  Beethoven  which  is  so  distinguishing. 

The  opening  pp  arpeggio  chord  is  accented  only  in  the  high- 
est tone,  a half  note,  and  held.  The  following  quarter  notes 


4 


i 


11 


afford  quite  a different  kind  of  development  from  anything 
we  have  found  thus  far.  They  fix  the  dominant  of  the  key  quite 
definitely.  The  eighth  notes  used  in  the  following  monometers 


to  he  brought  out  in  this  repetition,  and  the  tone  is  fixed 
before  the  accent  is  made. 

In  the  intervening  group  between  the  main  theme  and  sub- 
theme this  eighth  note  figure  treatment  is  continually  used,  al- 
most sequentially,  and  then  leading  up  with  chromatics  the  ac- 
companiment to  the  sub-theme,  begun  fortissimo.  The  eighth  note 
pairs  used  in  the  first  section  should  be  distinctly  and  care- 
fully phrased  so  that  the  right  effect  is  gained.  The  staccato 
left  hand  part  only  seems  to  make  the  eighth  note  figures  more 
quick  and  accented. 

In  the  sub-theme,  which  is  built  on  the  tonic  for  left 
hand,  the  right  hand  plays  another  small  theme  while  the  funda- 
mental of  the  tonic  chord  is  held  for  three  measures.  The  same 
left  hand  figure  now  reappears  in  the  dominant  seventh  chord, 
being  held  on  the  fifth  of  the  chord  for  three  measures  while 
the  right  hand  figure  is  introduced  again.  In  both  these  ap- 
pearances of  the  theme,  there  is  a quiet  triplet  accompaniment 
in  the  medium  register. 


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Then  continues  an  extensive  development  section  on  the  Heft 
hand  figure  of  the  sub-theme  and  the  eighth^  note  figure  of  the 
first  theme.  ^t  is  quite  delightful  in  its  content,  interest- 
ing and  bright.  The  accompaniment  figure  of  triplets  does  not 
even  prove  at  all  tiresome  as  it  might  seem.  The  continual  use 
of  the  sub-theme  in  the  right  hand  tones,  and  the  accent  and  ff 
for  the  left  hand,  put  the  triplet  fora  in  as  a quiet  background. 

Dickinson,  in  his  History  of  Music,  says  that  all  Beethoven's 
sonatas  from  Opus  26  to  90  show  a complete  mastery  of  his  art. 

H©  has  gotten  away  from  early  influences  and  shows  his  individual 
personality  and  rower  of  expression  in  all  he  writes.  H^g  atti- 
tude and  aspirations  were  high  and  he  was  among  the  most  versa- 
tile of  all  music  writers,  portraying  in  his  music  almost  every 
mood  or  emotion  imaginable.  His  last  sonatas  show  him  the  mas- 
ter of  the  form,  '^here  is  an  unquestionable  unity  in  the  usual 
four  movements,  while  the  first  is  generally  conceded  to  be  the 
only  strict  sonata-form  movement  of  the  four. 

The  next  composer  to  appear  prominent  and  important  in  the 
use  of  the  sonata-form  was  Brahms.  Unlike  Beethoven,  he  was 
not  aggressive  only  as  his  contemporaries  brought  him  to  the 


, : 


12 


fore.  It  is  said  by  some  writers  that  if  it  had  not  been  for 
the  rivalry  which  Brahms  was  led  to  against  Wagner , that  he 
might  possibly  have  never  come  before  the  public  as  a musician 
and  composer  of  repute,  ^his  rivalry  was  the  cause  of  the  back- 
ing and  support  he  received  by  the  agencies  pitted  against  Wag- 
ner; and  it  was  also  the  reason  for  many  of  his  compositions, 
the  impetus,  if  not  the  inspiration,  which  lay  back  of  his  ef- 
forts • 

Brahms,  says  Niecks,  was  a composer  of  absolute  music  in 
his  belief  in  the  power  of  expression  in  music  without  text.  He 
wrote  in  many  forms,  and  the  first  since  Beethoven,  he  wrote  in 
consistent  formal  beautiful  style.  Bong  compositions,  such  as 
his  sonatas  were  not  tiresome,  a fault  which  accompanied  much  of 
the  music  of  the  time.  On  the  contrary,  they  were  worked  out 
in  just  as  interesting  a way  as  those  of  the  great  Beethoven. 

Brahms,  however,  did  not  seem  to  have  the  great  spirit  of 
grandeur  in  his  works,  such  an  evidence  of  power  and  intense 
feeling,  which  Beethoven  possessed.  3rahms,  in  relation  to 
his  contemporaries,  did  not  have  the  great  impulse  and  talent 
which  Beethoven  did.  Brahms  was  usually  satisfied  with  his  own 
enjoyment  derived  from  his  music,  and  was  particularly  reticent 
when  questioned  or  interviewed  on  his  methods  and  practices. 

In  all  his  compositions,  we  find  only  one  or  two  which  have  a 
name  or  title  other  than  the  name  of  the  form,  that  is,  symphony, 
trio,  intermezzo,  etc. 

In  the  consideration  of  Brahms'  sonatas  we  shall  take  first 
of  all  his  only  piano  sonata,  the  one  in  C-major.  The  first 


. 


14 


movement.  Allegro,  introduces  the  first  theme  in  very  pro- 
nounced form.  What  can  be  more  effective  or  distinguishing 
than  a theme  brought  out  in  octave  chord  form,  built  on  the 
fundamental  tone  of  the  key  and  moving  about  it?  Considering 
this,  and  in  contrast  with  those  themes  of  Beethoven's  we  have 
gone  over,  the  theme  here  appears  in  a very  strong  manner.  We 


do  not  find  the  quietness  and  variety  in  expression  which  accom- 
panies all  of  Beethoven’s  introductory  themes.  instead,  Brahms 
uses  a theme  in  staccato  fortissimo  passage.  The  use  of  the 
half  note  trilled  in  the  sixth  measure  provides  a strong  lead- 
ing tone  to  the  change  of  key,  the  key  of  the  dominant.  The 
repetition  of  the  eighth  note  figures  in  measures  six  and  seven, 
using  again  the  leading  tone  of  the  transitonal  key,  helps  to 
place  it.  Measure  five  might  be  called  the  rising  action  in 
the  employment  of  scalewise  quarter  notes  leading  up  to  the 
climax  of  the  leading  tone  and  fundamental.  In  Beethoven's 
Pathetique  the  same  scalewise  progression  is  used  toward  the  cli- 
max in  measure  five  of  the  example  previously  given.  This  cli- 
max, however,  is  not  quite  as  striking  as  that  of  Brahms'  in  the 
theme  we  are  at  present  studying.  In  Brahms  we  have  a climax 
laying  particular  stress  on  the  leading  tone,  the  effect  entirely 
brilliant  and  certain  in  a way.  While  the  use  of  the  similar 


- 


15 


passage  in  Beethoven  is  a little  monotonous  because  of  its  repe- 
tition, because  of  its  quietness,  and  because  it  is  not  so  ful- 
ly harmonized  and  accompanied.  Beethoven  shows  a quieter  and 
more  expressive  nature  in  his  use  of  the  theme.  Brahms  is  more 
decided,  marked,  and  emphatic. 

Following  through  the  key  of  G-major,  the  theme  reappears 
in  exact  repetition  in  the  key  of  B-flat  major,  returning  again 
to  C-major  through  a succession  of  octaves  in  downward  progres- 
sion in  the  dominant- seventh  of  the  key.  The  original  theme 
is  imitated  by  monometric  thirds  in  the  bass,  and  after  two 
measures  an  inkling  of  it  is  found  in  the  right  hand.  The  sf 
chords  in  measures  25,  26,  and  27,  of  this  sonata  reiterate  the 
two  tones  coming  before  the  rests  in  the  original  theme.  Here 
too,  the  treatment  may  be  regarded  as  fugal,  that  is,  from 
measure  17  through  25. 

In  measure  thirty-eight  we  find  a second  theme  appearing 
in  C-major  and  then  working  through  a minor  key  back  to  the 
major  again.  In  this  answering  theme,  as  it  is  called,  reap- 


pears the  quiet  sort  of  theme  most  noticeable  and  characteris- 
tic in  the  sonatas  of  Beethoven.  The  rhythmic  form  also  is 
quite  broken  up,  making  it  more  interesting.  The  theme,  thus, 
is  divided  into  three  parts,  admitting  of  more  accent  with  the 
same  rhythmical  devices  used  in  each  division.  However,  the 


A 


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' 


» 


16 


theme  as  a whole  remains  quiet  and  expressive  throughout  until 
its  development  group  begins  with  a crescendo , continuing  as  a 
quick  and  interesting  group. 

With  measure  51  another  theme  comes  in  which  might  be  calL- 
ed  a closing  theme,  according  to  the  general  division  marked 
throughout  the  sonata.  -Beginning  very  softly,  the  whole  tone 
in  each  measure  is  a point  of  central  attention  forming  a dis- 
tinct foundation  and  background  to  the  melody  weaving  above  it. 


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redundant,  the  half  notes  prove,  in  con- 

nection  with  their  repetition  or  echoing  in  the  bass,  to  be 
quite  accented.  Here  Brahms  comes  as  close  to  following  out 
the  characteristic  features  of  -Beethoven's  thematic  treatment, 
as  he  verges  from  it  in  other  works.  The  expression,  although 
lacking  the  usual  surprises  of  Beethoven's  markings,  is  much 
the  same  in  its  general  effect.  Bike  Beethoven,  Brahms  has  put 
colour  into  this  particular  theme,  not  by  virtue  of  the  leading 
of  the  tones  to  a point  of  climax,  but  by  the  repetition  of  the 
tetrameter  in  a little  different  form.  Here,  the  second  divi- 
sion, although  the  melody  is  changed,  seems  to  be  a repetition 
of  the  first  in  that  the  rhythmic  form  of  the  first  is  used  in 
its  exact  form.  The  tempo  is  changed  only  in  the  last  measure. 

The  development  section  of  this  sonata  is  very  long,  and 


■ 


■ 


r 


17 


the  different  subjects  appear  in  different  forms.  The  third 
theme  appears  first  and  in  single  voice  in  the  key  of  E-flat 
major,  a part  of  the  theme  appearing  in  left  hand  octaves 
about  six  measures  later.  -Now  it  appears  in  ff  octave  chord 
form  in  the  right  hand  in  the  key  of  G-flat  major.  About  four- 
teen or  fifteen  measures  of  modulation  intervene,  and  then  ap- 
pears the  suggestion  of  the  first  theme  in  left  hand  octaves, 
appearing  again  in  the  right  hand,  and  again  in  the  left. 

The  fugal  form  of  certain  parts  of  this  sonata  show  itself 
in  the  return  and  treatment  of  the  second  theme  in  the  key  of 
D-major . 


It  is  to  be  rendered  with  great  expression,  which  takes 
away  considerably  from  the  complicated  fugal  idea  portrayed  in 
its  form.  The  mf  second  appearance  comes  out  strongly  against 
the  p of  the  first,  and  serves  as  a pronounced  reiteration  of 
what  has  come  before. 

In  the  reappearance  of  the  first  theme  (page  nine)  we  find 
a treatment  not  occuring  before  in  our  study,  ^ere,  instead 
of  the  tonic  chord,  we  have  the  dominant- seventh  in  the  key  of 
F-major,  reverting  again  to  the  tonic  in  C.  The  end  of  the 
theme  is  exactly  as  it  was  in  the  entrance.  The  second  theme. 


. 


' 


18 


following,  appears  in  E-flat  major,  passing  through  c-minor 
back  to  E-flat  major.  The  third  theme  too,  enters  in  a differ- 
ent key  than  previously,  that  is,  in  E-flat  major,  later  in  A- 
flat  major,  and  then  in  A-major  an  intimation  of  the  very  first 
theme  comes  near  the  close  of  the  first  movement. 

Brahms'  "Zweite  Sonata"  in  E-major  for  piano  and  violon- 
cello is  the  next  we  shall  take  up  in  our  study. 

Since  the  violoncello  is  capable  of  such  varied  expression 
and  of  such  high  emotional  quality  we  shall  probably  find  this 
sonata  very  similar  in  its  general  import  to  those  of  Beethoven. 
The  effects  perhaps  will  be  quite  similar  and  unmistakably 
Beethovenistic • 

The  theme  is  introduced  after  a short  pianissimo  passage 
by  the  piano,  the  accompanying  instrument.  It  appears  first 
with  a fortissimo,  and  there  are  no  markings  of  expression  ex- 
cept the  swell,  and  phrase  slur. 


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The  theme  continues  through  eight  measures,  the  most  com- 
mon length  of  a theme. 

Then  in  the  ninth  measure  the  first  two  measures  of  the 
theme  reappear  an  octave  lower.  In  the  eleventh  measure  and 

continuing  through  the  thirteenth  and  part  of  the  fourteenth  is 
a repetition  of  the  original  theme  in  part.  Through  the  next 
eighteen  measures  follows  a transition  and  elaboration  toward 
the  key  of  C,  and  the  appearance  of  the  second  subject.  In 


. 


19 


this  division  we  find  the  piano  accompaniment  echoing  the  cello 
solo  in  a very  effective  manner. 

The  first  theme  of  this  sonata  shows  a much  freer  use  of 
tones  and  intervals  than  Opus  #1  for  pianoforte  does.  Although 
the  theme  begins  with  an  accentuated  fundamental  preceded  by  the 
fifth  of  the  chord  in  16th  note,  the  next  16th  note,  following 
the  rest,  a flat  3rd  of  the  chord,  might  give  the  hearer  the  minor 
attitude.  If  it  were  not  for  its  very  slight  duration  and  seem- 
ing unimportance,  this  might  be  true.  Regardless  of  the  fact 
that  Brahms  here  uses  unusual  intervals,  it  may  be  noted  that  all 
accented  tones  in  the  theme  are  members  of  the  fundamental  chord 
in  F -major.  The  new  intervals  used,  therefore,  are  somewhat  lost 
by  their  position. 

The  second  subject  of  this  sonata  appears  first  in  the  piano 
part  in  the  key  of  C-major. 


It  appears  first  with  fortissimo  dominant,  and  works  down 
to  the  tonic  with  accents  on  the  second  counts  of  measures  thir- 
ty-four and  thirty-five.  These  accents  on  the  appearance  of  the 
tonic  chord  serve  to  plant  it  firmly  in  the  hearer's  mind  while 
the  unusual  accent  proves  a point  of  interest. 

The  harmonic  structure  in  measures  thirty-six  and  thirty- 
seven  is  different  from  anything  we  have  found  thus  far  in 


■ 


20 


Brahms.  It  shows  a liberal  style  and  thought,  and  a freedom 
from  the  commonly  employed  harmonies.  The  triplets  in  the  left 
hand  against  the  eighths  in  the  right,  too,  are  unusual  rhythmic- 
ally. 

The  theme  then  is  employed  by  the  cello  in  the  octave  below 
and  in  almost  exact  repetition.  The  same  marks  of  expression  are 
used,  the  crescendo  in  the  fourth  full  measure  of  the  theme  being 
doubly  emphatic  with  piano  accompaniment. 

There  follows  after  the  two  appearances  of  the  second  theme 
a long  transitional  group  to  the  key  of  A-major.  In  this  group 
the  transition  is  brought  about  mainly  by  the  free  use  of  chro- 
matics. Here  it  would  seem  that  Brahms  is  a little  superior  to 
Beethoven.  -Brahms  seems  to  make  a daring  jump  from  one  key  to 
another,  while  Beethoven's  transitions  show  much  painstaking 
throught  and  deliberation. 

With  the  key  of  A major  appears  an  augmentation  in  part  of 
the  first  theme,  the  skip  downward  being  an  octave  and  a sixth, 
whereas  in  the  first  appearance  the  interval  was  only  a sixth. 


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Throughout  the  rest  of  the  A-major  section,  there  follows 
a transition  to  the  key  of  F -major,  brought  about  mainly  by  the 
use  of  free  chromatics  and  unusual  harmonies.  Brahms  shows  in 
this  sonata  his  close  relationship  to  modern  composers  and  styles. 
He  combines  the  old  with  the  new  in  that  he  uses  the  old  formal 
style  and  the  new  free  harmonic  combinations.  The  second  theme 
reappears  in  this  division  in  F-major.  There  is  also  a repeti- 


■ 


. 


21 


tion  of  the  first  theme  in  augmented  form. 

In  sonata  ^pus  #108  for  piano  and  violin,  Brahms  becomes 
somewhat  reminiscent  of  the  style  of  Beethoven.  The  first  theme 
appears  in  violin  part  in  sotto  voce  ma  expressivo,  much  as 
Beethovenfe sub jects  begin.  In  the  swell  on  the  unaccented  beat 

in  measures  3,  4,  7,  and  8,  we  are  reminded  again  of  Beethoven 
because  of  the  fact  that  it  is  an  unexpected  development  of  a 
tone  which  acts  as  an  embellishment  or  passing  tone.  In  Brahms, 
however,  we  might  say  the  marks  of  expression  are  unusual  rather 


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than  unexpected.  In  Brahms  we  do  not  find  the  figure  that 
Beethoven  so  often  employs,  that  of  the  fortissimo  directly  fol- 
lowed by  the  pianissimo,  with  no  gradual  change.  Instead,  Brahms' 
unusual  employment  of  irregular  accents  and  swells  is  to  be 
noted . 

Brahms  differs  greatly  from  Beethoven  in  the  treatment  of 
his  long  form.  Beethoven  follows  a consistent  line  in  each  of 
his  sonatas,  while  Brahms,  especially  in  his  Opus  #1  for  piano- 
forte, is  not  very  consistent  in  thought,  that  is,  there  is  no 
set  outline  for  his  composition.  Beethoven's  methodical  trend 
of  mind  shows  itself  in  the  form  of  his  composition,  without  in- 
juring it  or  making  it  mechanical.  Brahms,  after  his  first  an- 
nouncement of  a theme,  puts  in  an  inkling  of  one  every  now  and 
then,  just  as  a reminder  of  the  important  or  outstanding  part  of 
it.  These  reappearing  figures  do  not  usually  return  in  the 
same  order  as  the  themes  of  which  they  are  a part.  Withal,  the 


. 


* 

I* 


22 


picture  drawn  is  as  beautiful  in  most  respects  as  the  music 
of  Beethoven.  In  sonatas,  Brahms  does  not  show  the  scope,  the 
grandeur,  the  ease,  the  power,  or  the  command  of  Beethoven. 
Nevertheless,  to  the  average  hearer,  there  appears  to  be  no  ap- 
preciable difference.  Brahms  does  not  represent  a turning  point 
in  musical  history,  but  he  revives  the  formal  composition  which 
Beethoven  had  previously  established. 

Brahms  may  show  a little  more  freedom  in  the  choice  and  com 
position  of  his  thematic  material , while  Beethoven  shows  it  in 
his  power  of  expression.  There  is  nothing  hard  or  harsh  in 
Beethoven's  sonatas,  while  Brahms'  make  one  feel  a strained  at- 
tempt at  grandeur.  Brahms  shows  inspiration  tainted  by  effort, 
while  Beethoven,  in  his  individualistic  style,  depended  solely 
upon  inspiration  and  emotion. 


Bibliography 


Mathews : 

Miecks: 

Dickinson: 
Stanford-For sy th : 
Pauer : 

Stanford: 

Carl  Merz: 

Elterlein: 

H.  A.  Warding: 
Faulkner,  Anne  Shaw: 
Erb : 

G-oetschius : 


Music,  Its  Ideals  and  Methods. 
Programe  Music. 

History  of  Music. 

History  of  Music. 

The  Beautiful  in  Music. 

Music  Composition. 

Music  and  Culture. 

Sonatas  - Beethoven. 

Analysis  of  Form. 

What  we  Hear  in  Music. 

Brahms . 

Homophonic  Forms  of  Composition. 


Beethoven  sonatas,  volumes  one  and  two,  for  pianoforte. 
Brahms  sonatas,  Opus  #1,  for  pianoforte,  Opus  #99  for 
pianoforte  and  violoncello,  and  Opus  #108  for  pianoforte 
and  violin. 


